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Series: Early Modem Embroidery and Lace Patterns

Simply Elegant

Pagano’s Early Reticella
Lace Designs

1544-1554, Venice

Matteo Pagano

Helen Hough (Editor),
with

Alessandra Caputo, & Hastings Sanderson

James G. Collins & Associates
2020

Simply Elegant: Pagano’s Early Reticella Lace Designs, 1544-1554, Venice.

Pagano, Matteo (1515-1588), Hough, Helen (Editor), Caputo, Alessandra, & Sanderson, Hastings.

James G. Collins & Associates, Arlington, Texas, 2019

Series: Early Modern Embroidery and Lace Pattern Books

This book and its images are copyright James G. Collins & Associates.

Essay copyright: Alessandra Caputo, Hastings Sanderson, or Helen Hough as appropriate.

The version uploaded into the Internet Archive is for non-commercial use only with a Creative Commons
Attribution-Non-Commercial-Share-Alike 4.0 International Public License (https://creativecommons.org).

Dedications:

H.H. - Recalling Ms. Fanara, teacher, & Ms. Russell, librarian, at the High School of Fashion Industries,
N.Y.C. Many compassionate actions by these and other faculty members resulted in their students being
able to reach goals the young people had not known were possible.

AC - My family, prof. Doretta Davanzo Poli, and all lace lovers.

H.S. - For Douglas and Debra Maughan. They hauled me to the library, taught me to sew, and were the
type of parents willing to build a marionette stage complete with velvet curtains or draw art for a
neighborhood newspaper I decided I needed to get to press.

If you believe that this publication has some value to you, please consider donating what you think is a
reasonable sum to some worthy purpose; even a tiny amount may make a difference somewhere. Some
donations may also be tax deductible.

Consider the following organizations:

Querini Stampalia Foundation Venice. The 2019 Venice flood damaged many libraries and their books
with some parts of these collections completely submerged. Funding for conservation treatment is and
will be a need for many years. [AC, HH]

http://www.querinistampalia.org/eng/support us/venice flooding 12 November 2019.php

The Antique Pattern Library project is an excellent opportunity to support access to publications similar
to this one. This service provides scans of craft pattern publications that are in the public domain or have
permission to post. Many are edited for ease of viewing by modem craftworkers and their technologies,
http://www.antiquepattemlibrary.org/index.htm [AC, HH, HS].

Donations to your local library or a community college or other learning scholarship fund are valuable
local investments. [HH].

Consider also Archive.org as it helps makes many resources available to all of us.

1 would be surprised if any person or organization returns even a nominal donation. -HH

Series: Early Modem Embroidery and Lace Patterns

Simply Elegant

Pagano’s Early Reticella
Lace Designs

1544-1554, Venice

Designs from the publications of Matteo Pagano (1515-1588):

Giardineto novo di punti tagliati et gropposi per exercitio & omamento delle donne, 1544, 1550;
Omamento delle belle & virtuose donne, 1544, 1550, 1554;

Spechio di pensieri delle belle et virtudiose donne, 1544, 1546.

Helen Hough (Editor),
with

Alessandra Caputo, & Hastings Sanderson

James G. Collins & Associates
2020

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Simply Elegant:

Pagano ’s Early Reticella Lace Designs

Table of Contents

Discussions

Introduction . i

The Power of Lace . iii

Pagano, His Time and Place . v

Locating Early Lace and Embroidery Books . vii

Volumes Examined . x

Pagano’ s Early Reticella Designs . 1

1 X Bands . 1

2 X Bands . 5

3 X Bands . 11

4 X Bands . 17

5 X Bands . 29

6 X Band . 37

7 X Bands . 39

8 X Bands . 41

9 X Bands . 49

10 X Bands . 51

12 X Bands . 59

14 X Band . 65

Plackets . 69

Alphabets . 77

Overall . 79

Thumbnail Volumes . 99

Giardineto Novo di Punti Tagliati . 99

11 Spechio di Pensieri Delle Belle . 102

Omamento Delle Belle & Virtuose Donne . 104

Title Page Images, Dedications, and Poems . 107

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Introduction

Helen Hough, Texas, United States

For years now I have been examining early embroidery and lace pattern books printed the 16th and
17th century. The printing press made a significant impact on the transmission of information
across the world, enabling more rapid the dissemination of ideas and concepts. Curious about the
economic influences of the press and its impact on populations with lower levels of literacy and
having a background in art, the transmission of design was intriguing. These interests led to a focus
in in the subset of volumes detailing embroidery and lace design.

I find early reticella lace exquisite. While some people are attracted to more complex laces
composed of curves and swirls, a sort of opera of the eye, my eye is called by regular geometric
forms. The repeating structures are the drum beat that carries varying visual notes that when placed
together create beautiful movements, tones where the eyes may rest or encouraged to speed along.

As visual tones, the individual reticella elements can be combined and recombined to compose
anything from a deceptively simple ditty to a complex opus. Like music adapted to be played on
more than one instrument or in more than one type of venue, many of these designs can be executed
in more than one medium. Of course, I recognize the needlecraft forms but my imagination quickly
gathers other substrates and tools to envision things like a simple visual fillip on correspondence,
trapunto enhancements to collars and cuffs, piecework coverlets, embossed leatherwork,
marquetry, incised or inlayed wooden surfaces from picture frames and drawer fronts to coasters,
mosaic backsplashes, and much more. Having spent some time looking at each one of the squares
in this volume I now want to execute some of the Pagano design elements as garden steppingstones
by inlaying inexpensive glass beads in small slabs of concrete.

As lace elements, these designs have been used across centuries to create beautiful pieces. The
enchantment has lasted from nearly 500 years ago when Pagano first laid them out in print. They
can also be used as inspiration for other ways of adding beauty to our lives. The opportunities
created a personal imperative to allow greater sharing of Pagano’s work among us now.

Two amazing colleagues, Alessandra Caputo and Hastings Sanderson are among those who do
this type of sharing.

Ms Caputo is, among many roles, a lacemaker, historian, and author. She is involved with the
Scuola Professional Femminile, creating lace exhibits and helping others understand the impact
of education on young women in Rome since the latter part of the 1800s. She is also active in the
international lace community, including as a conference speaker. She has kindly shared her
multilingual skills so we can better understand the work of 16th and 17th lace designers.

Ms Sanderson is also multi-talented. She is a knowledgeable speaker and writer of early
modem era needle crafts. She has astounding knowledge of the early embroidery and lace pattern
books, actively posting comparisons of these designs with clothing elements in portraits of era.

I am grateful that these two wonderful people have been kind enough accept my request to share
their knowledge and skills by contributing to this volume.

Discussions

Page i

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Discussions

Page ii

Simply Elegant: Pagano Designs, 1544-1554, Venice.

The Power of Lace

Tradition and Innovation at the Dawn of the Third Millennium

Alessandra Caputo, Rome, Italy

A slight, quite gossamer fabric, resulting from a thin thread, careful hands, sensitive souls, and
maybe for these specific reasons ,a typically feminine work from its origins; whim of the most
frivolous luxury; humble work and daily toil of thousands of women fighting for survival; art form
and expression of creative spirits: all of this, yesterday and today, is "lace".

Memory runs to the traditional image of the lace maker bent over her work, alone or, more often,
surrounded by a group of women like her, intent on that "working together" which for generations
has constituted such an important element of female sociality. That image is at the base of a long
and exciting historical journey, in which gentlemen and ladies, artists and sovereigns appear on
one side; on the other (and perhaps a lesser known part of history) thousands of humble, exploited,
and poorly paid women, subjected to the whims of fashion and the iron rules of a trade managed
entirely and only by men. Women who, despite their conditions, finding themselves endowed with
a happy mix of technical knowledge and artistic sensitivity, were able to create fragile, ethereal,
impalpable masterpieces.

Time passed, so much time, and even today, many, many of women all around the world still make
lace. Some of them still work for money and survival; most of them make it for personal pleasure.

But why are they choosing lace? Isn't it old fashioned? What's the power of lace?

As a lacemaker, I think the reason could be in its essence, in the concept of "lace".

Everything starts, incredibly, from a thread and a few simple tools: a needle, bobbins, a shuttle, a
crochet hook, a pillow on which to pin the twists of the thread as the work progresses.

There is no fabric, with its weft and warp, to guide the hand in its work, many times there is not
even a design to follow: only a thread in the hands and one's own imagination, the desire to express
oneself...

At the dawn of the new millennium an emancipated and active woman, cultured and self-aware,
looks with interest at the possibility of loosening the bonds that anchor the technique to traditional
shapes and uses and stands out for new horizons.

It is not just a pleasant hobby or an anti-stress tool: it soon becomes something more, an urgency
to manifest one's self, one's thoughts.

Lace, therefore, as an internal expression, as a soul song, as poetry ...

And incredibly, that is precisely what lace was in its very beginning, when noble ladies were
devoted to needlework, considered a virtuous and praiseworthy occupation, with which they
expressed their worth and sensitivity.

For those ladies, many pattern books were published with dedications that refer to their noble and
virtuous work. And their enchanting beauty still move our souls.

Discussions

Page iii

Simply Elegant: Pagano Designs, 1544-1554, Venice.

One night, some time ago, I met a lady on Facebook. She lived on the other side of the world, but
that night - la rete* - la rete**! - let us meet and share the great pleasure to dig in pages of a
beautiful pattern book from the past and find the words to let people read and appreciate it again.
The present work is at least in part the result of that unexpected, unbelievable night.

Since then, I have one more heartful soul friend in the world; and in the end, I think, that is the
power of lace.

*the internet, **lace.

Rete (re-te) is an Italian word expressing the concept of netting/network and can be used in either setting.

[HH - I also find la rete an apt metaphor for the hearts and minds of good friends through its use in biology to
describe networks of blood vessels (heart) or nerves (mind).]

Discussions

Page iv

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Pagano, His Time and Place

Hastings Sanderson, Utah, United States

Matteo Pagano (1515-1588), best known for his work as a map printer and engraver, had his print
shop in Venice at the Insegna della Fede (Sign of Faith.) The clasped hands of his shop name
served as his printer’s mark and can be easily seen at the top center of the title page of the pattern
book, Spechio di Pensieri delle belle el Virtudiose Donne . He identified with his shop enough that
he occasionally signed his work “Matheus F.” (Speelberg, 2015) and on some of his sculptural
work, like his medal of Tommaso Rangoni, he is called Matteo della Fede. His shop was found on
one of the two long commercial streets in Venice, the Frezzaria. (Woodward, 2007)

A bustling marketplace, the Frezzaria had a wide variety of industry with silk sellers, second-hand
clothing merchants, embroiderers, and a large group of printers and book sellers who focused on
cheap print that sold well (Lussey, 2017.) These printers and book sellers included among others,
Pagano, Giovanni Andrea Vavassore, Agostino Bindoni, Alessandro Paganino, Melchior Sessa,
Niccolo Zoppino, and Francesco Pelicioli. In addition to publishing the maps Pagano became
known for, he seems to have focused on quarto editions and brochures. There is not much evidence
for his exact output. Only once did he apply for privilegio from the Senate, an early form of
copyright, (Woodward, 2007) and primarily published "libri communi" or communal texts. Much
of Pagano’ s work also seems to have been in cooperation with others. He worked as the
cartographer Giacomo Gastaldi’s engraver for some projects and he and Vavassore often
republished one another’s volumes. Pagano and Vavassore had similarly diverse print outputs and
seem to have had considerable interaction with at least one print run of Pagano's put out on paper
that had been discarded from an earlier printing of something else by Vavassore. (Lussey, 2017)
Through Vavassore and Pagano's onetime partnership with Bindoni, the printers Paganino, Sessa,
Zoppino, and Pelicioli were all interrelated, the influence of working in close proximity.
(Woodward, 2007) They all also published embroidery and lace pattern books.

Printing something that would be profitable was important and the costs of carving woodblocks
for illustrations made the printing of books laden with images a larger investment than the single
sheet brochures and maps. (Salzberg, 2014) The pattern books were good sellers and many went
through several editions, making the cost of cutting the original woodblocks worthwhile. (Lotz,
1933) As a result we get to see new patterns and styles of embroidery being included as the
volumes become popular and Pagano, along with the other printers, capitalized on this demand.

Pagano's books in the 1540's are full of innovation and the transition into early lace. The most
exciting part of these works is the introduction of reticella patterns. The first documented use of a
variation of the word reticella is frequently said to appear in Pagano’s 1542 Giardineto Novo di
Punti Tagliati et Gropposi per Pxercitio & Ornamento Delle Donne where the word “rete” (“net”
or “grid”) is mentioned. (Earnshaw,1984) Reticella is a form of needlelace constructed on a grid
created by withdrawing threads from whole cloth and then filling the then opened spaces with
designs in stitches. Pagano's sequencing of patterns act almost like an instruction book for the
form, starting with thin bands of single squares and increasing in complexity as more grids are
opened up, making the fabric more and more netlike.

Matteo Pagano's books of reticella patterns are beautiful and useful on their own, but are especially
important as examples of the bridge between the early pattern books of embroidery and the further

Page v

Discussions

Simply Elegant: Pagano Designs, 1544-1554, Venice.

transformation of lace with the introduction of punto in aria in later books like those of Vinciolo,
Parasole, and Vecellio. The regular bands of small squares of reticella that are an easy step up from
drawn work, building on one another, becoming more detailed and elaborate. Eventually the
stitches move out of the boxes created by withdrawing threads from whole cloth, and the artisans
begin laying the threads in less geometric patterns and building the lace without the cloth. Punto
in aria is born.

Reference List:

Earnshaw, Pat. 1984. A Dictionary of Lace, Aylesbury: Shire Publications Ltd

Lotz, Arthur. 1933 Bibliographic der Modelbiicher, von Arthur Lotz; beschreibendes Verzeichnis
der Stick- und Spitzenmusterbiicher des 16. und 17. Jahrhunderts. Mit 213 Abbildungen auf 108
Tafeln, Liepzig, K.W, Hiersemann

Lussey, Natalie. 2017 “Staying Afloat: The Vavassore Workshop and the Role of the Minor
Publisher in Sixteenth Century Venice,” in Minor Publishers in the Renaissance, ed. by Angela
Dressen, Susanne Gramatzki, Berenike Knoblich, in: Kunsttexte.de, Nr. 2, 2017 (30 pages),
www.kunsttexte.de https://edoc.hu-berlin.de/bitstream/handle/18452/18716/Lussey-%20final.pdf

Salzberg, Rosa, 2014 Ephemeral City: Cheap Print and Urban Culture in Renaissance Venice,
Manchester, Manchester University Press

Speelberg, Femke. 2015 “Fashion and Virtue: Textile Patterns and the Print Revolution, 1520-
1620 The Metropolitan Museum of Art Bulletin, v.73, no. 2

Woodward, David. 2007 “The Italian Map Trade, 1480-1650” in The History of Cartography:
Volume 3, Cartography in the European Renaissance, ed. David Woodward, 773-803. Chicago:
University of Chicago Press

Discussions

Page vi

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Locating Early Lace and Embroidery Books

Simply Elegant focuses on a limited set of the work of a single printer who worked within a small
region in Italy during the middle of the 16th century, some 500 years ago. Matteo Pagano, a skilled
mapmaker, printer, medalist, and book and print dealer in Venice, is known to have been
responsible for several editions of some nine titles of early lace pattern books. Several editions of
each title were published between 1544 and 1560. During this period, the names of the printers
were more likely have been recorded than were the designers so the designers may be unknown.
The three titles of focus of this book are:

1. Giardineto Novo di Punti Tagliati et Gropposi per Exercitio & Ornamento delle Donne...

2. II Spechio di Pensieri della Belle et Virtudiose Donne.. .

3. Ornamento de le Belle & Virtudiose Bonne...

These titles consist of the more basic reticella lace designs common in Venice around 1550.

Additional pattern books known to be distributed by Pagano are:
o Fede Opera Nova: Intitolata La Eede de i Recami...
o Fior di Virtu Libro Nouo da Cusire Nel Quale Si Contengono Mold...
o L ’honesto Essempio del Uertuoso Desiderio Che Hanno le Donne di Nobil Ingegno...
o La Gloria et I'Honore de Pond Tagliati, et Pond in Aere...
o Le Pompe, Opera Nova Nella Quale si Retrovano Varie...
o Opera Nova Composta per Domenico da Sera detto il Franciosino ...

These latter six titles include more complex lace designs or are expressing the talents of specific
designers. These titles are not the focus of Simply Elegant and minimal information about them is
provided below as a courtesy.

There are several resources that aggregate historic library records, gathering information about
publications housed in very large museums and libraries, or from multiple institutions based on
geographic regions. Most of these aggregating resources focus on institutions in western Europe
and north America as a function to the technological needs associated with these efforts. There are
several ongoing initiatives to discover, scan, and make these rare publications available to people
in the 21st century. We can thus hope to encourage greater access to the knowledge across our
planet for others with similar curiosity. It is my personal belief that being aware of historic works
is important for our greater community, informing the paths we may choose to walk into the future.

Please note, 500 years ago spelling was not quite as consistent as it is now. There were also various
ways of abbreviating terms so fewer letters would be needed when writing or printing. There may
be small differences in “identical” names, titles, and text, as a consequence. Flexibility is required
when looking for these items in libraries.

When attempting to identify and locate early print resources, one should also take into
consideration how technology has been adopted by various institutions. It can be difficult to
identify where copies of antique books are located. Information about a library or museum’s
holdings are described in catalogs. In the past, library catalogs were paper based, first as lists in
books. As more material was acquired, the records were maintained in the form of card catalogs,
with each item having its own set of cards. In many parts of the world without robust power grids,

Discussions

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

physical card catalogs can still be the most reliable way to for institutions to maintain information
about their holdings. As libraries and museums acquired digital technology that could more easily
distribute information that described their holdings, the institutions focused on ensuring that new
books and publications were accurately documented. Since the older material was already
documented, although in paper formats, adding this dated information into digital catalog was not
always a priority. Even now, older works at many reputable institutions may not be represented in
electronic catalogs and print records may need to consulted on site.

We are fortunate that there are several movements to scan older materials and make entire
publications available across the internet. This is a slow process because these efforts require
expensive equipment and skilled personnel to do the scanning. There are also ongoing costs to
maintain the servers that hold the files and distribute these data. There are many, many, many
publications still to be scanned for wide-spread distribution. There are, however, services for
individuals who are doing library research. Many institutions permit people to order scans of older
publications. Depending on the institution, the document, and the purpose for the copy, the fees
can be quite high. Some institutions will only provide documents to another library, “InterLibrary
Loan.” Consider contacting your local library where you have borrowing privileges for more
information about this service. A wonderful initiative that is currently active in Europe is EOD
(eBooks on Demand). It is a service at some libraries where for a relatively small fee, a person can
order and receive a scan of older publications that may be out of copyright. As part of the delivery
agreement, after a short delay the library will also arrange for a copy of these scanned materials
be made publicly available on the internet. There are still other institutions that will supply some
copies free to scholars who are engaged in research. Because of the various services, if one cannot
travel to a specific institution, it is often wise to explore the “document delivery” services at any
library or museum that has publications of interest.

Beginning the Search for Older Publications of Interest

Recognizing that books were devised as portable instruments to share knowledge, any specific
book could be just about anywhere in the world. A diligent search to find that book will take time
and a willingness to explore multiple resources that may be presented in any one of a variety of
languages.

There are many services that make publications digitally available.

In some cases, these are subscription services that libraries make available to their users. Contact
a librarian at libraries near where you live for information about these services. An example of
one that is useful to people interested in early modern embroidery and lace pattern books is Early
English Books Online.

There are many organizations that aggregate and deliver scanned publications free online.
Two of the largest are the Internet Archive (www.archive.org) and Project Gutenberg
(https://www.gutenberg.org/). A really useful resource is HathiTrust (https://www.hathitrust.org/)
but it may have access restrictions based on location and institutional affiliations.

Several services from large libraries and museums are of particular interest to pattern book
aficionados as many full text items are included:

• Bibliotheque nationale de France: https://gallica.bnf.fr

• Metropolitan Museum of Art - https://www.metmuseum.org/

Discussions

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

• Sachsische Landesbibliothek - Staats- und Universitatsbibliothek Dresden (SLUB):
https://www.slub-dresden.de/startseite/

• Staatliche Museen zu Berlin - https://www.smb.museum/en/research/online-catalogues-
database/

• Smithsonian Institution - https://library.si.edu/collections

• University of Arizona, On-Line Digital Archive of Documents on Weaving and Related
Topics - https://www2.cs.arizona.edu/pattems/weaving/front door.html

The U.S. National Library of Congress (https://www.loc.gov/) also has a substantial online
presence although relatively few pattern books.

If planning a trip and thinking about visiting institutions that have interesting material,
consider consulting aggregate catalogs beforehand. Many national/regional library organizations
or library services have aggregate catalogs that indicate which institution has an item of interest.
Once identifying the institution that has the item of interest, checking that organization’s resources
may occasionally yield recently scanned documents.

Although all these services are quite useful, there are often significant duplications across them.

The following list of some of these catalogs is arranged in alphabetical order. Any specific catalog
may be most useful in its own geographic region.

• Bibliotheque nationale de France: https://www.bnf.fr/; Gallica (https://gallica.bnf.fr/) is
the fulltext collection.

• Europeana: https://www.europeana.eu/en

• Internet Culturale, (http://www.intemetculturale.it/; OPAC Catalogo SBN:
https://opac.sbn.it

• Paris Musees, Museums of the city of Paris: http://parismusees.paris.fr/

• Sachsische Landesbibliothek — Staats- und Universitatsbibliothek Dresden (SLUB):
https://www.slub-dresden.de/startseite/

• Staatliche Museen zu Berlin - https://www.smb.museum/en/research/online-catalogues-
database/

• Universal Short Title Catalog: https://www.ustc.ac.uk/search

• Worldcat: https://www.worldcat.org/

The membership list of The European Bureau of Library, Information and Documentation
Association can help in identifying libraries by country:
http://www.eblida.org/membership/eblida-members.html

For any visit to large or foreign libraries or museum libraries, it can be important to consult library
services and catalogs before arriving. Many rare publications have special access and handling
requirements. Do not presume that one can just show up but for the most part, visitors will be
welcome even if service may be restricted.

Discussions

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

Volumes Examined

Giardineto Novo di Punti Tagliati et Gropposi per Exercitio & Ornamento delle Donne.

[New Garden of Needlepoint and Knotwork for the Exercise and Ornament of Women]
Stampato in Venegia per Matthio Pagan in Frezaria, in le case noue il qual tien per in- segna
la Fede

Standard classification numbers: Lotz 80 (class); Whiting 1341-1347; Bocher 56-61

Online editions:

1544 - Bibliotheque nationale de France: https://gallica.bnf.fr/ark:/12148/btv lb 10548042k

1550 - Bibliotheque nationale de France: https://gallica.bnf.fr/ark:/12148/bpt6kl32447q
1550/1921 (Ulrico Hoepli reprint) - University of Arizona, On-Fine Digital Archive of

Documents on Weaving and Related Topics:
https://www2.cs.arizona.edu/pattems/weaving/books/ngl lace.pdf

1551 - Getty Research Institute: https://archive.org/details/giardinetonovodiOOpaga

Metropolitan Museum of Art: https://www.metmuseum.org/search-
results#!/search?q=2 1.15. Ibis
Other known editions:

1548/1879 (Ongania reprint); 1550; 1551; 1554; 1556; 1557

II Spechio di Pensieri della Belle et Virtudiose Donne, dove si vede varie sorti de Ponte, cioe
Ponti Taliati, Ponti Groposi, Ponti in Bede e Pond in Sdora.

[Mirror of the Thoughts of Beautiful and Virtuous Women.]

Stampato in Venetia per Mathio Pagan. In Frazaria in le case noue qual tien per insegna: la
Fede.

Standard classification numbers: Fotz 82 (class); Whiting 1358-1568; Bocher: 154,
Strange 54

Online editions:

1544 - Bibliotheque nationale de France: https://gallica.bnf.fr/ark:/12148/btv lb 105480414

Other known editions:

1548; 1549; 1550

Ornamento Delle Belle e Virtuose Donne: Opera Nuova Nella Quale Troverai Varie Sorte di
Frise. [Ornament of Beautiful and Virtuous Women].

Stampato in Venetia per Mathio Pagan. In Frazaria in le case noue qual tien per insegna: la Fede.
Standard classification numbers: Fotz 81 (class); Whiting: 1311-1313, 1359; Bocher: 155,
Palliser: 13

Online editions:

[no date] - incomplete, Bibliotheque nationale de France:

https://gallica.bnf.fr/ark:/12148/btvlbl0548015p
1544 - Bibliotheque nationale de France: https://gallica.bnf.fr/ark:/12148/btvlbl0548049q
1550 - Bibliotheque nationale de France: https://gallica.bnf.fr/ark:/12148/bpt6k8529743m

Other known editions:

1543; 1553; 1554

Discussions

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

Pagano Lace Pattern Books Not Included

Pagano, Matheo. Fede. Opera Nova: Intitolata La Fede de i Recami, nella quale si contiene uarie &
diuerse sorte di mostre di punto scritto, punto tagliato, punto in stuora, punti in Rede, punti afilo, &
alcuni, punti in aiere di Riporto, Grottesche, & altri bellissimi dissegni. In Venetia: Appresso
Domenico de’ Franceschi. 1564.

Standard classification number: Lotz 105; Whiting 617

Pagano, Matheo. L ’honesto essempio del uertuoso desiderio che hanno le donne di nobil ingegno, area
lo imparare i punti tagliati afogliami. Pagano: Venice.

Standard classification numbers: Lotz 85 (class), Whiting 1352-1353; Palliser, 27; Bocher, 1 10-
111

Online editions:

1550: Sterling and Francine Clark Art Institute,

https ://archive.or g/details/MAB .3 1 96200079 1461 Images
1550/1878 (Ongania reprint: Raccolta di opere antiche sui disegni dei merletti di Venezia; 4).
Cleveland Museum of Art https://archive.org/details/Lhonesto
Getty Research Institute - https://archive.org/details/lhonestoessempioOOpaga
New York Public Library - https://catalog.hathitrust.org/Record/008633635
1553 - Bibliotheque nationale de France: https ://gallica.bnf .fr/ark:/ 1 2 1 48/btv lbl0548038v
Other known editions: 1553, 1556

Pagano, Matheo. La gloria e I'honore de pond tagliati, e pond in aere, & pond in stora afogliami, opera
noua. Et con somma diligenda posta in luce. Pagano: Venice

Standard numbers: Lotz 87 (class); Whiting 1348-1351; Bocher 81; Palliser 39, Strange 56

Online editions:

1556 - Metropolitan Museum of Art: https ://www.metmuseum.org/art/collection/search/354980, 56
https://archive.org/details/lagloriaetlhonorOOpaga
1563 - Getty Research Institute: https://archive.org/details/lagloriaelhonoreOOpaga
Other known editions: 1543, 1554/1891 (reprint), 1558, 1558/1884, 1560

Pagano, Matteo. Le Pompe, opera nova nella quale si retrovano varie, & diversi sorti di mostre, per poter
far cordelle oner bindelle, d'oro, di seta, difilo, overo di altrci cosa. Dove le belle et virtuose donne
potranno fare ogni sorte di lavoro. In Venetia, 1558. https://gallica.bnf.fr/ark:/12148/btvlbl0548004t

Pagano, Matheo. Opera nova di varie disegni, utili a ciascheduna persona laquale si diletti de cusire,
recchamare e designcire indtulata: Specchio di vertu. In Venetia, per Matthio Pagano in Frezzaria, all
insegna della Fede, 1554. (Noted in Whiting)

Sera, Domenico da. Fior di virtv libro novo da evsire nelquale si contengono mold, & diuersi sorti di
fogliami del q[ua]le ogni ge[n]til, & virtuoso madonna se ne potra seruire, in far pond ctfili, pond
ervtiati, pond Intrezola, po[n]d Insdora, tirar in Opera, Guchiar Tesser e molt' altri pond come a loro
piacerci. S. 1. [Venezia]: s. n. [Matteo Pagano], 1563

Standard classification number: Lotz 69

Sera, Domenico da. Opera Nona Composta per Domenico da Sera Detto II Franciosino: Done Si Insegna
a Tube Le Nobili & Leggiadre Giouanette Di Lauorare Di Ogni Sorte Di Pud: Cusire: Recamare, &
Far Tube qlle Belle Opere. Per Matio Pagan Sta in Frezeria e Gulielmo Fontaneto Di Monferrato.

Online editions:

1546/1879 (Raccolta di opere antiche sui disegni dei merletti di Venezia., v. 8).

New York Public Library, https://catalog.hathitrust.org/Record/008693093

Other known editions: 1543, 1546

Discussions

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Designs: 10 x Bands

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gano’s Early Reticella Designs

Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Venice.

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Designs: Alphabets

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

Thumbnail Volumes

Giardineto Novo di Punti Tagliati

Metropolitan Museum of Art. (DP358223, DP360710-DP360756)

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Page 101

Simply Elegant: Pagano Designs, 1544-1554, Venice.

II spechio di pensieri delle belle

Bibliotheque nationale de France, https://gallica.bnf.fr/ark:/12148/btvlbl05480414

II spechio di pensieri
delle belle e virtudiose
donne, dove si vede
varie sorti de ponti,
cioe ponti taliati, ponti
Groposi, ponti in rede,
et ponti in stiora.
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Thumbnails: II Spechio. 1544. BNF.

Page 102

Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Metropolitan Museum of Art (DP360764 - DP360813)

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ponti gropposi, & ogni
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Thumbnails: Ornamento delle Belle. 1554. MET

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

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Simply Elegant: Pagano Designs, 1544-1554, Venice.

Thumbnails: Ornamento delle Belle. 1554. MET

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Title Pages, Dedications, and Poems

Page 107

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Title Pages, Dedications, and Poems

Page 108

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Giardinetto novo di punti tagliati et gropposi per exercitio et
ornamento delle donne. Venice: Pagano

1544. — Bibliotheque nationale de France. https://gallica.bnf.fr/ark:/12148/btv lb 10548042k

1550. — Bibliotheque nationale de France. https://gallica.bnf.fr/ark:/12148/bpt6kl32447q

1554. — Metropolitan Museum of Art. https ://www.metmuseum.org/search-results# !/search?q=2 1 . 1 5 . 1 bis

GlAPDWETO NbVO DI

•^Pvnti Tagliati ^

Etg roppolL per exercitio & ornarnen /

to deffe DonuenS^

Title Pages, Dedications, and Poems

Page 109

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Ornamento delle belle & virtuose donne. Venice: Pagano.

1544. — Bibliotheque nationale de France, https ://gallica.bnf .fr/ark:/ 1 2 1 48/btv 1 b 10548049q

1550. — Bibliotheque nationale de France. https://gallica.bnf.fr/ark:/12148/bpt6k8529743

1554. — Metropolitan Museum of Art. https ://www.metmuseum.org/search-results# !/search?q=2 1 . 1 5 .2bis

Wording of text remains consistent across editions of the same title although spellings may differ. Font
sizes and number of words per line may change. Date in Roman numerals changes to reflect publication
date. All lines readjust to remain centered.

Title Pages, Dedications, and Poems

Page 1 10

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Spechio di pensieri delle belle et virtudiose donne. Venice: Pagano.

1544. — Bibliotheque nationale de France. https://gallica.bnf.fr/ark:/12148/btv lb 105480414
1546. — Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/354982

I -Has

l Spechio

di penlieri delle belle
et Virtndiofe donne .

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Title Pages, Dedications, and Poems

Page 111

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Title Pages, Dedications, and Poems

Page 112

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Dedications

Giardinetto novo di punti tagliati et 1544
gropposi per exercitio et ornamento
delle donne. Venice: Pagano

1544, 1550. — Bibliotheque nationale de France;
1554. — Metropolitan Museum of Art.

ALLA SJGNORA LVCRETIA
RO BERTA M AT IO PA-

oano salvte-

O r che li M ufici.di noi ragionar no
ceffotto. mentre , fopr’ogm fcnnnil
coliumc.ui conotcono ndl'Armo
nupfinIfima.SC i Born literati (Vupil
cono tiuti d una certa dolcezza die
porgtla non arnficiofa .tea pin co
itonadua facondauoftra.talmemr,
ch’orator.o poem nobilc non e.chc
d'cfprimcr lc laucii uoftre, con ogni
forza del (uo ingegno, non s'accom
modi,etnoncomcndaJ& die final
menre i firaoli Pirtori di picciollo pregio non reputano, fe
con l'imaginc del uolto uoflro 1’opra delle fue lauole.pofto
no aggrandire.&magnificare.mache cola non die in Ve»
neiia.anzi per t'umucrfo tutto della Nobiltalucretiana no
rifoni loquanttinque a coftoro egual non fia,nondimeno,
da non minor defio,di gloria trat ro.pcr non tircralle genie
anaro.di quel dono, dclqualeil cielamecfhto cortele net
mcfiicro.&arteficiodefignarcimagliarc oltra raolte altrc
operetc,&pri*ninemic qudta notia tatichetra.cbiamaco.
GIARDINETTO digutiiagliatihogiudicato ne-
ceirjriod'intcftcirctf perclterde non m'inganno, quafi il
fior di«itel'altrc(tampe,dimoltomaggiorfi’.ma,& utili/
Ujdielcpaflatenon Cono per laqualcola,pono,di uoi Si¬
gnora L V C RET I A piu ficuronon ho ueduco da po-
cerlo drizzare , acdo col flio fare leddiofc fanciullc,chc co
la lurcu.dcll’ago br.im.ino akolmo di pumi& di latiori mai
piunonmfti neconfiderati, pofiano aggcuclmeme pcruc-
nire,& col fpccchio di qudiolibretto no pmditcepole ,ma
ptrfcdiffime matftrefarfi.&alla bona gratia di Voftra Si-
gnonahumilmcntc mi raccomando.

Title Pages, Dedications, and Poems

Page 113

Simply Elegant: Pagano Designs, 1544-1554, Venice.

1550

AtlAjfcNOSA tVCjKTf*

ROBERTA MATTIO PR
CANO SALVTK
^ OI che gli muSd , di ttol ragiontf nwie<0
farWjtnencrc , fopra ogni feminil coftutnr,
■ I/7V uiconofcono nelf Arm jnia parfet'ifEmt , ft
i buoni licterati ftupifconaturtf d una crrxe
^ djlcczza che par^e U nOn araficiofa , mt
•in caSo natiua faconda uait«, talmence. che arator , a
caeca n/oile.none chedi tCprimer le laudi uoftee con
ogni fjrza del fuo ingegn^non fi acconoli , ft non con
tcnda, « chefinalmentei fa » j5 Pntcwi di picciolo pw
gio non reputino.fe conl'im tgine del uoito uoftio I’opra
delle file tioole , poTono aggca dire ft migniSc«e,m«
che cofa non che in Veneria,anzi per i'jni.ierfotuKadel
1* Nabilita Lucretiana non rifontu (o quantunque a CO/
flora egual nan fia , non dimeno , da non minor delta, dl
gloria cratco, per non eirer alle gcntc auaio , di quel doa
no delquale il ciel a me e ftato cortefe net mrlticro, 8t ait
aeficto dc fignare intagliare olcramohe altre opcrette*
dc primidcmie quell* nouaf»tichetw,chiamato G l Alt
D»N ETTO dipunritagliatihogiodicato neccllaa
lio diimerrelTcre per elTcr(ft non m'ingannopquafi il fior
di tutit l’altre ftampe.di molto maggior Hi ma, Bt utility
chclepaflate nonfono per laqual cofa , porto, di uoi Sit
gnora LVCRETlAp iu ficuro non ho urduto da po
trrlo drizzare , accio col tuo fare le deliofe fanciullc, chc
con la nirtu , dcll’ago bramano al colmo di punti 8t dt U/
norl mai piu non uifti nc confideraci.poHano agcuolracct
le peruetvre,& col lptcchio di quefto libretto non piu dl
|ccpolc,ma perfetrilWe maeftre farlt, 5t allibona gratia
di Voftra Signotia humilmente miiaccomaudo.

1554

ALLA SIGNORA LVCRETIA

ROBERTA, MATTHIO

PAGANO SALVT E.

PO I the gli mufici , di voi ragionar non ceffano ,
mcntte .fopraogni feminil coflume, vicortofcono
nelfArmonia perfettifsima, & i buoni littcrati ftupifeono
ruttid’vna cctta dolcrzza che potge la non arcificiofa ,
ma piu tofto natiua faconda voftta.talmente che Orator,
o Porta nobile non e che di efprimci le laudi voftre con
ogni fotza del fuo ingegno , non fi accommodi , St non
contends, & chefinalmenteifamofi Pittoti di picciolo
pregio non reputano , fe con I’imaginc del volto voflro
I’opta dellefue cauole.polfono aggtadite St magnificat
rc,ma checofa non che in Venetia,anzi pet i’vniuerfo cut
to della nobilta Lucretiana non rifonni io quantunque a
coftoro egual non fia, non dimeno , da non minor defio,
di gloria tratto.per non effet alle genre auato.di quel do-
no, delquale il Ciel a me ftato cortefe nello meftiero,5t
atteficio defignate intagliare oltra molte altte opetctte.St
primitie quefta noua fatichetta chiamaco Giatdinetto di
punti tagliati, ho giudicatoneceflario di intetteftete pec
efter.fe non mi inganno,quafi il hot , di tutte Pal tre ftam¬
pe.di molte maggior ftima , St vtilita , che le paflate , non
fono pet laqual cofa, porto di voi Signora Lucretia, piu
ficuro non ho reduto da potetlo drizzare , accio col
fuo (ate le defiofe fanciullc, che con la vittu ddl'ago bra-
man oal colmo di punti St di lauori,mai piu non villi ne
confident!', poflano ageuolmente petuenire , St col fpec'
chio di quefto libretto.non piu difccpole , ma perfcttifsi-
mc maeftre farfi,&alla bona gtatia di voftta Signotia
humilmente mi taccomando ,

Giardinetto novo di punti tagliati et gropposi per exercitio et ornamento delle

donne. Venice: Pagano. 1554

Dedication

ALLA SIGNORA LUCRETIA ROBERTA
MATTHIO PAGANO SALUTE.

Poi che gli musici, di voi ragionar non cessano, mentre, sopra ogni feminil costume, vi conscono
nell’Armonia perfettissima, & i buoni literati stupiscono tutti d’una certa dolcezza che porge la
non articiosa, ma piu tosto native faconda vostra, talmente che Orator, o Poeta nobile non e che di
esprimer le laudi vostre con ogni forza del suo ingegno, non si accommodi, & non contenda, &
che finalmente I famosi Pittori di picciolo pregio non reputano, se con l’imagine del volto vostro
l’opra delle sue tavole, possono aggradire & magnificare, ma che cosa non che in Venetia, anzi
per l’universo tutto della nobilta Lucretiana non risonni io quantunque a costoro egual non sia,
non dimeno, da non minor desio, di Gloria tratto, per non esser alle gente avaro, di quell dono,
delquale il Ciel a me stato cortese nello mestiero, & arteficio designare intaglare oltra molte altre
operette, & primitie questa nova fatichetta chiamato Giardinetto di punti tagliati, ho giudicato
necessario di intertessere per esser, se non mi inganno, quasi il fior, di tutte l’altre stampe, di
molte maggior stima, & utilita, che le passate, non sono per laqual cosa, porto di voi Signora
Lucretia, piu sicuro non ho veduto da potero drizzare, accio col suo fare le desiose fanciulle, che
con la virtu dell ’ago bra man o al colmo di punti & di lavori, mai piu non visti ne considerati,
possano agevolmente pervenire, & col specchio di questo libretto, non piu discepole, ma
perfettissime maestre farsi, & alia bona gratia di vostra Signoria humilmente mi raccomando.

Title Pages, Dedications, and Poems

Page 114

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Ornamento delle belle e virtuose donne
opera nuova nella quale troverai
varie sorte di fries.

Venice: Pagano.

1544, 1550. — Bibliotheque nationale de France;
1554. — Metropolitan Museum of Art.

ALLS VIRTVOSIJS. JORELLE BT NOBILIJS.

CrntllioMt ii Omdia , PHromlla cr Catarina i' Aimer.

M atdo Pagano Salute .

Q V A S T A fu la Hffitieltb ielritrouore Iteefibellt the apportim agbbmo
gtini ij« j like p refute <ydieuo,& quant o anchor fu Ufatita del a femrli agruef
menu despatch! few ritroualte , lo prouano ogni giomo i P ittorisSc Uori'Poeti.Orat
tori,er filo/ofi , bftati necriferiamente muna altra cojbpiu jiuitamt tbelabella me
tent one, & latte Mjf >fmpne dele toft, auinti the riittcane alcun oioro fludio a ye.
now perjittione. Quelioa me holggi Yeggo rffer auenutofbegu mold <mt,& ftJ fi
Mia miaprieufa Malika de.ettaidorru di quefl a muta poejta,the e ildijegu/rr.
milt! prindpale delU put urn , io gli ho dill ft cm who jdtiio 'the del pcuero giaro
ditto, & picciolohorticelh del into debile itffgno riccog.itndo i pin bei peri , cr mia
glierfrutu the detitro vi erdoo.per abbellire Pamata vaga^a delle denne belle , ho
toapodo pteflo ammfa libretto di Ydrie forte di reiamt, a guild d'vna ghtrlanda di
fieUiffimi Crfuattiffirm fieri contefla t lo^tule per effir non men bell* (ardific di dir *
h feint begin) the Pella fujfi d’oro cr di gem me or uttjfo ghditata degna dilute
cr, metonedefimepenjaaio o chi imbrqxtnJtU degnemente dour laponjJt,»Mna
pe font mie yeniua nella mtnte,allaqual! pin conuenir fi potejfe vn total dire, the id
ff n ytlore i’ambedue vot Jbrrlle, the fin fra It belie & virtuose billijjemeser
mtuofilfime. A voi duntpte tome tile chttro fvute, c r proprio mdo di tut It legend
del mondO'dedice & conftcro quelle mi> profitteuole & dilittiuolf {ideas non
gio penhe w Ami voi dt me douer impart* t tw, in Iif*,pertkt iofcl? ftUo il noiu

douche yoioitralealtreYofirerariffimeYirtlisfidibontdj&honejli tejlurru ; tome

Mi ttmdio della mfie^fate anenora ton Pago ricanundostofipiu preflo muacolofobt
pojjifcili. Ma actio the vfiendo in luce rna total opera belltffima et virtuofijfimiiva.
ii anehora nellemani degli hurnnnt jbe to 2 chtaro nomr delle pin telle , cr vtrttioft
fertile the hggidifianonl fetol noRra. Voi adur.que accettartu ildtno ton qutlla
fnnte,the vi i datossllegre.tr firenayrdftetanio la graders tW'anfnio "" '* H*
ftega della mtipitaolajoratnasldqualr alt’bori intemmiarea riffundere sept mdo
mtinmtnmoragffo delyofirochiaro fpiendtre yidegnontt tmnlaul nice firs
ell a y ojira bmnt gratiasallafialefintafine mi raectmando .

1550 a L LE V i > t S S. iv.

bitiXilK j. a.mon to Ji Canita P.

S amkuMuoio Pagano ia.j

V A >4 T a fia JifnMlt* del litrouuv
appatii io i gU naomini at Jilctto, St .

fir i j I’ltica Id UI>*Kile a^aoi nrutcflapoi the iooo imo jjte.lt pit.
no ogii guuo > Pmotl , ’Kjitoti , poeti, Otatoti X Filoloa.gli jaa
fi iKCflTana-a'i'e nan altncofa piu itaiu io cite la belia tu.at.uie
nt ii I’tltra diffiofinone dc lc cote, »ui iti tne ti.lJCauo alcunq
ftu’jio a vtuna perfettioue, dirlto a me ho0'ii vig^to eiia ajtua.
to cbe gia malti an.ii,3iquanda,iamia puma ijjcu*exx» dintando

mi liqaeftanWM poefia,caeeil dncgnopeinime pt.iKtpj.c amapiau.*

10 z i So mdo coo tanto Itudio.che dal pouno giaHino,ai piccio.o hoc
ticcllo ad mio aeBile ingegno laccoglit ndo i pm bd holt, 3i migltbi i:u»

11 the ientro vi etatio.pec abdlicc I’araau vagheiaa delle donne belle, no

compolio qaeUo amotofo Uoretio di vane mite at iecann,a guita dc un»
ehitlmda dioellifftmi diUauiJimi fio.i cotxettiitaqaatcpec cfln no me
belli 'at disco di dirio fenaabugu) che s’ella iuUe d oto di di geme oma.
ta.bo gin iicaia degna di luce St meco me iefiino ptn andoaOumdiii.
zatidola degnamente donar la potent, nmna plot- rate nmuu nella me-
teal'aud tie nm conuenn li poteij'e vn total dono,cbe tl gian vaiocta n*
bedae voi foreile.che (tteiralebellt.ai vitiuoftflime.,A Voi dut^tic cuiw
allachiari toite.dl proprionidodt mttelegen tdezze del mondo, Awioa
& coiificro qaeta mia ptofittenolc di dtlciteuole fattcaiOongtJ peicbe
iollimi voi dame doueie tmpaiare alcana coia.petche fcio,dti.M
Joil non lo>e voi oltia lealtit votire canUime vwu.li ' *!5*

nedi colln ni, comeettamdto de.lamui.ca,caiicaiKh«a «n‘ afcu

m m to, cofc piu piello mitacoio c, chepcIlibm.Maactocncvict.1 tt
luce vmtoral opeu.bdlitrima St vntuohllima, vadt ancnotan^AM
dc git huomini fouo li entaro dome ddle pin belle, dtvitmolcforfllv^:
h J ;gi di li .noa! iecol no lira Voi aduiKBaccetaKieil
le.eme vie iato,illegra 8i lecoiatmifuundo lagtandezzadelUWmo«o.< W
barren iell Amiipiceiola fotmna,laquale allnora incotmmma antp ten
dete, ju tn io con vn minimo raggio del voltto thtato Iplendotc vtd^a
cete erred . nel cicco ieno della voftMbaenascatMlatjii* «<*» 0‘« »»
Ewwmato

1544

1554

utLE VIRTVOSISSIME SOR.EEtE.ET NO;

biliflimc Gentildonnedi Candia.La M . Pctronilla.Sl Cathe-
cina da Ca d’ Atmct. Matthio Pagano Saluteni,

IVANTA Sialadifficultadel citron ate !e cofc belt'
che apportino a glihominiqualchc profitto, Ei dilec
to, & quato anchor fia la fatica del difponetle agcuoi
mfte dapoi che fono ritrouate.le prouano ogni bio,
no i Ptttori.Scultori, Poeti,Oiatoti,8i Phtlolophi,gls
quali neceffariamete niun’altra cof3 pin ftudiauo che

r - - [j )jC| |a intetione.e l’alta difpofitione delle cofe, auati

che riducano alcuno loro (tudio a veruna perfettione. Quclto a me hog
ei veeeio effet auenuto, che giamolt’anni, & quah dallamta pttma fan-
ciulczza delettandomi di quella rnuta Poefta , che e i! difegno , tetmme
principale della pittuta.io gli ho attefo con tanto Itudio.che dal pouero
Eiatdino & picciolo horticello del mio debiie ingegno raccogltendo a
piu bci fiori,& miglioi frutti che dentro v’erano.pcr abelltte I’amata va.
ehezza delle belle done, ho compolto quello atnorofo libretto di varm
forte dirccami.a gnita dTuna ghirlada dibelliflinii.fii foauilfitnifiori con
tdta.laqualc per efiernonmen bellaCardilco di dirio fenzabugtayhefc
ella fufle d’oro.Si digerne omat3,ho giudicata degna di luce.e meco me
defimo penfando a chi indtizandola degnamete donar la potefli, niuna
perfona ini e vetiuta nella mete alia quale piu conuenir fi potefle vn co.
tal dono, chc ii gran valore d’ambedue voi forelle, che fete fra le belle, SC
vtrtuofiffime.A voidoqne come alia chiara fonte.SC proprio nido di tut
te le gentflezzc del modo,dedtco,& confacro quelta mia profitteuole o{
dtictteuole fatica.non gia perch’to ftimi voi da me douer imparare alcu
na cofa.pcrch’iofo, Si fallo il tnodo, che voi oltta le altre voftre rariflime
virtu, fi dibottta.Si honelii coftuini.comectiamdio della Muficafate an
chora con I’ago ricantando.cofe piu prelto miracolofe.che pollibfli.Ma
acctoche vfeendo in luce vna cctal opera, bellifiima.Si virtuofiflima.var
di anehora nelli mani dc gli huemoni fouo il chtaro nome delle piu bei
le.Sr vittuofe forelle che hoggi di fiano al feed noftro. Voiadontg acce/
tarete il dotio con quella fronte,che vi e dato,allegra,Si ferena.mtiurado
lagrade zza dell’animo.con la baftezza della mia piccola fortuna,!aqua
le allhora incominciata a rifplendere.quado con y n minimo raggio del
voftro chiaro fplendore, vi degnarctc rcnerla nel ricco feno dell’ "Oftra
gratia, allaquale fenza fine di continuo miraccomando. Valere.

Title Pages, Dedications, and Poems

Page 1 15

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Ornamento delle belle e virtuose donne opera nuova nella quale troverai

varie sorte di fries.

Venice: Pagano. 1554

Alle virtuosissime sorelle, et nobilissimi
Gentildommen di Candia, La M. Petronilla, & Catherina da Ca d’Armer.

Matthio Pagano Salutem.

Quanta sia la difficulta del ritrovare le cose belle che apportino a gli homini qualche profitto, & diletto, &
qua(n)to anchor sia la fatica del disponerle agevolme(n)te dapoi che sono ritrovate, le provano ogni giorno I
Pittori, Scultori, Poeti, Oratori, & Philosophi, gli quali necessariame(n)te niun’ altra cosa studiano che la
bella inte(n)tione, e l’alta disposition delle cose, ava(n)ti che riducano alcuno loro studio a veruna
perfettione. Questo a me hoggi veggio esser avenuto, che gia molt’ anni, & quali dalla mia prima
fanciulezza delettandomi di questa muta Poesia, che e il disegno, termine principale della pittura, io gli ho
attelo con tanto studio che dal povero giardino, & piccolo horticello del mio debile ingegno raccogliendo i
piu bei fiori, & miglior frutti che dentro v’erano, per abellire l’amata vaghezza delle belle don(n)e, ho
composto questo amoroso libretto divari sorte di recami, a guise d’una ghirla(n)da di bellissimi, & so
avissimi fiori contesta, laquale per esser non men bella (ardisco di dirlo senza bugia) che se ella fusse d’oro,
& di ge(m)me ornate, ho giudicata degna di luce, e meco me desimo pensando a chi indrizandola
degname(n)te donar la potessi, niuna persona mi e venuta nella me(n)te alia quale piu convener si potessi un
cotal dono, che il gran valore d’ambedue voi sorelle, che sete fra le belle, & virtuosissime. A voi do(nne)
que come alia chiare fonte, & proprio nido di tutte le gentilezza del mo(n)do, dedico, & consacro questa
mia profittevole & dilettevole fatica, non gia perch’ io stimi voi da me dover imparare alcuna cosa, perch’ io
so, & fallo il mo(n)do, che voi oltra le alter vostre rarissime virtu, si di bonta, & honesti costumi, come
etiamdio della Musica, fate anchora con l’ago ricamando, cose piu presto miracolose, che possibili. Ma
accioche uscendo in luce una cotal opera, bellissima, & virtuosissima vadi anchora nelli mani de gli
huomini sotti il chiaro nome delle piu belle, & virtuose sorelle che hoggi di siano al secol nostro. Voi
adonq(ue) accetarete il dono con quella fronte, che vi e dato, allegra, & serena, misura(n)do la gra(n)dezza
dell’ animo, con la bassezza della mia piccolo fortuna, laquale allhora incominciata a risplendere, qua(n)do
con un minimo raggio del Vostro chiaro splendore, vi degnarete tenerla nel ricco seno della vostra gratia,
allaquale senza fine di continuo mi raccomando. Valete.

Title Pages, Dedications, and Poems

Page 1 16

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Poems on Last Page

AliE BLLE ET VIRTV

diole Donne Mattio
Pagan,

Giardinetto novo di punti tagliati et
gropposi per exercitio et ornamento
delle donne. Venice: Pagano

To the Beautiful and Virtuous
Women

Mattio Pagan

Vago volto, otio schivo, et casto il petto
Arte son vera, afar le donne belle,

Io per omar, piu la virtu di quelle,

Opere rare, scolpire, sempre m'affretto,
Havran l’alme fanciulle, tal diletto

Dipingendo con l’Ago, quasi Apelle.

Con quelle bianche, schiette mani isnelle
Chi’io non so se piu fia il nome, o l’effetto
Penelope, & Aragne, nel Telaro
Stavan sovenete molto piu felice
Lucretia fu, nel fil, che per gliamore
Simil di voi, ne vi sara mencato

Tesser ghirlande, ch’or tesser vi lice
Ne giamai sia Giardin c’habbia tal fiori

A Z.LS BIT viftTW

diofi Ob inc'VIatc’ii > ' *

Pagan*

■ , Y

\T Aga/olcjjoci > fchiao)Sl'u.i’Vi! pett*
v Ar;e foa ucru,i far leDauue belle!

Io p.ir, jrnaqpii Uuircu Ji quelle,

OprifUrijE al uir.le note uj’u frctto j
Hum Pai ne funciulleul Jilecco

\ J3: quiii Apelle f

Cm; die b’iu udji :: fe .jiicce n a ii ifaslfc
C i’i >Vm.» faVqdf a fiju a ae a I’e.fetca
Pe.iebjJiJSJ V.M as nel rasliro
Scjjii fjueuc: 4 olcjoiu t.-liee
L u :ceci » fa: nil 31 cae per li an an 1
5i»il Ji uai,'neai’fata aeactra «

Tc ierg itrlun ie« eVucte I.Tailieff
N-ji* nainjgUciia uaj

• • -Jr'

Sciaaicob Vsajcii pie Vtiee-sj
Pagiaia'&caainui ileeafe tj
iMtie » per ife { h 4

1550

VAgo uolto.otio fchiuo,et cafto il petto
Artelon uera,a far ledonne belle,

Io per omar, piu la uu tu di quelle,

Opre rare,fcolpir,fempre m’affretto,
Hauran l’alme fanciulle, tal diletto
Dipingendo con 1’ Ago,quafi apelle.

Con quelle bianche, khieue mam isnelle
Ch’io non fo fe piu fia’I non e,o I’effetto
Penelope, & aracne,nel telaro
Scauan foucnte molto piu felice
Lucretia fu,nel fil,chc per gli amori
Simil di uoi.neuifara men caro
Telftr ghirlande, ch’cr telfer ui lice
Ne giamai Ha giardin ch’abbiatai fiori.

Stampato in Venegia' per M a tthio pagan in
Irc.?ariain lecale noueilqualtien
perinfegna laFcde.

M.DXLIII.I

ALLE BELLE ET VI]

tvdiose donne

MATTHIO PAGAN.

Vago voIto,occhio fchiuo,& calfo il petto
Arte fon vera, a fat le Donne belle
Io per omar, piu la virtu di quelle,

Opre rare.fcoprir.fempre affretto,

Hauran l’alme fanciulle taldiletto
Dipingendo con l’Ago.quah Apelle
Con quelle bianche ,fchiette mani ifnelle
Ch’io non fo fe piu ha il nome o 1’effetto.
Penelope, & Aragne nel Thelaro
Stauan fouente molto piu felice
Lu cretia fu.nel hi che pet li amori,

Simil di voi,ne vi feta mancato
Teller gir laudc ch’or telfer vi lice
Ne giamai ha Giatdin c’habbia tal fiori.

In Vcnetia pet Matthio Pagan ,in Ftezatia,
all’Infegna della Fede,

1554 M D L IIII,

Title Pages, Dedications, and Poems

Page 1 17

Simply Elegant: Pagano Designs, 1544-1554, Venice.

1550

Ornamento delle belle e virtuose donne opera nuova nella quale troverai
varie sorte di fries. Venice: Pagano.

1544, 1550. — Bibliotheque nationale de France; 1554. — Metropolitan Museum of Art.

ALLE BELLE ET VIRTVO

fe madonne Matrio Pagan.

ALLE BELLE, ET VIRTUO

se madonne Matthio Pagano.

Donne se la bellezza, e Fhonestade

Vi fa risplender, come in cielo Stelle
Virtu vi fara anchor molto piu belle
Se in lei spendeti in parte vostra etade
E a padre, & a mariti farete grate
Se operareti ben le aguselle
E se fareti ste mie opere belle
In ogni parte sarete lodate.

Ponti tagliati qui ritrovareti

Et altri ponti c’hareti piacere
Per scuffle, Bavari, e fazoletti,

Colar, lenzoli potrete lavorare

Se questo mio libretto comprareti
In vita vostra v’hareti a gloriare.

Pero Donne mie care
Non stati di comprar questo libretto

Ch’in vita vostra, n’havesti il piu perfetto
E pur io ve l’ho detto.

Che sarete lodate in tutto il mondo
Et haverete sempre il cor giocon.

FINIS.

In Venetia per Matthio Pagano, in
Frezzaria, all’Insegna della Fede.

M. D. LULL

ALLE BELLE ET V1R.TVC

fe madonne Mathio Pagan.

Donne fe Ja bellezza e I'honeftade
Vi fa rifplendeijcome incielo ftelle
Virtu vi faia anchor molto piu belle
Se in lei fpendeti in pane voitu etade
E a padre e a mariti farete grate
Se operareti ben le agufelfe
E fe fareti lie mie opre belle
In og.ii patte fareti lodate
ponti tagliati quitinouarett
Et aim' ponti cite hareti a piacere
Per fcuffie Bauatt,e faz jletti,

Col Jt,e lenzoli potrete lauotate
Se que to mio libretto comprareti
In rtta voitta v’hareti a gloriare

peto Dome mie care
Non ihti di comprar quefto Libretto
Che in vita voiltan tiaueth il piu perfett*
Epurioverhodeio
Che farete lodate in tuitoil mondo
fit hajereu iempte il cor gtocondo.

Sumpato in Vinegia per Muhiopagaflirt
Frezzaria in le tale itoue ilqual
tit n pet infegna la Fede.

Donne fe la bellezza e I’honeftade
Vi fa rifplender.come in cielo ftelle
Vittu ni fara anchor moito piu belle
Sc in lei fpendeti in parte uoflra etad*

E a padri e a Ridriti farete grate
Sc operareti ben le agufelle
E fe fareti fte mie opre belle
In ogni parte fareti lodate.

Ponti tagliati qui ritrouareti
£t altri ponti the hareti a piacere
Per feu (fie Bauari >e fazoletti,

Colar , e Lenzoli potrete lauorare
Se quefto mio Libretto comprareti
In uira uoftta u’hareti a gloriare

Pero Donne mie care*

No n flati di comprar quefto Libretto
Che in uira uoftra n’hauelti I pin perfetto
E pur io ue I’ho detto,
Che fareti lodate in tutto il mondo
£c hauercti feropre il cor gioccndo.

Stampato in Venetia per Martio Pagan
m Frezetia in le cafe nuoue ilqual
men per infegna la Fede.

ALLE BELLE, ET VIRTVO
fe madonne Matthio Pagano.

T's Onne fe la bellezza/ l’honeftade
4 J Vila rifple nder/omc in cielo Stelle
Virtu Vi fata anchor molto piu belle
Se in lei fpendeti in pai tc voftra etade
E a padre, & a matin farete grate
Se operareti ben le agufelle
E fe fareti fte mie opete belle
In ogni parte fareti lodate.

Ponti tagliati qui ritrouareti
Et altri ponti c’harrti a piacere
Pet fcuffie,8auari,e fazoletti,
Colar,!enzoli potrete lauorare
Se quefto mio libretto comprareti
In vita voftra v’hareti a gloriare.

Pero Donne mie c\ re.

Non ftati d< remprar q, -o libretto
Ch’in vita voftra,nhaueftiil piu perfetto
Epurio vel'ho detto.

Che farete lodate in tutto il mondo
„ Ethauetetelempreil cor giocon.

FINIS.

fpn Venetia per Matthio Pagano, itj
Ftezzaua.all’ Iniegna della Fede.

M. D. L 1 1 II,

Title Pages, Dedications, and Poems

Page 118

Simply Elegant: Pagano Designs, 1544-1554, Venice.

Printer’s Mark

Spechio di pensieri delle belle et virtudiose donne. Venice: Pagano. 1544

The copies of Spechio di pensieri delle belle et virtudiose donne at the Bibliotheque nationale de France
and the Metropolitan Museum have neither dedications nor poems.

The final page of 1544 copy at the Bibliotheque nationale de France has an image and a printer’s mark.

Title Pages, Dedications, and Poems

Page 1 19

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Full text of "Simply Elegant: Pagano’s Early Reticella Lace Designs, 1544-1554, Venice"

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